The findings in this study imply challenges for educators within HME in Sweden, with implications for HME institutions across the world. This article clearly demon-strates tensions between music performance students’ discourse about knowledge and competence and political, institutional frameworks. The aim of the study was to investigate how students within HME re-/negotiate notions of knowledge and competence with the specific objective to analyse and explain how tensions were discursively manifested. Inter alia, this study shows that research and scholarly tasks are described as something detached from the main education, with perfunctory skills tied to marketing and freelancing also separated to a large extent. The former is often seen as potentially worthwhile, but at this point in time appears as something obliga-tory without function in relation to students’ structural concerns. The latter seems to be necessary, but mainly acquired outside of their education. Craftsmanship and artistic performance skills are still seen to be the fundamental basis for students in their endeavours to be expert musicians.
These institutional tensions, to a large extent, can be connected to ideals within higher education in general versus ideas and values associated with a master-apprentice tra-dition within HME. Since national objectives were introduced in the higher education ordinance in 1993, the formulations for music performance programs have changed only once, in the wake of the Bologna process (2006: 1053). Yet in contrast with, for example, (music) teacher education, there is not a widely published public debate and incessant reforms influencing musician programs. Nevertheless, considering the scale of the changes implemented, it is important to ask similar questions as those posed in the debate surrounding teacher education: what kind of musicians do we want to educate? What should they know and be able to do?
This article aims to enhance an understanding of the academization of music perfor-mance programs, specifically in terms of what kind of knowledge and competences are at stake for students. To further deepen understanding, different actor’s perspec-tives across HME institutions, should be compared. Furthermore, research specifically regarding the role of scholarly activity and research would also be interesting as there appears to be a struggle over what role it should play and because of the distance articulated by students. Academization and the environment within which tensions between traditional goals in one-to-one tuition and state formulated objectives arise, also raise questions surrounding assessment and examination.
Nadia Moberg
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Doctoral student Nadia Moberg Musikhögskolan Örebro universitet 701 82 Örebro Sweden
nadia.moberg@oru.se
Nordisk musikkpedagogisk forskning. Årbok 19 2018, 75–96 Nordic Research in Music Education. Yearbook Vol. 19 2018, 75–96